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Materials: Lack TV stand + capita legs and Lack side table
Description: I wanted a simple low stand for my AV equipment to go under the projection screen. The Ikea Lack stand was a perfect starting point due to its deep 24″ top surface (my AV receiver is more than 19″ deep not counting banana plugs). However, I also wanted a 2nd shelf to elevate my center channel speaker and give an additional spot for my bluray player.
I did some checking and found that the Lack Side table (the one for only $9.99) had the same depth and thickness, so it would make a perfect raised shelf. I thought about just doing it with the original Lack legs and cutting them to length, but I prefer the look of the stainless Capita legs and they also provide adjustment to level things if needed. In addition, they have a smaller footprint, which allowed my wider than average blueray player to fit in between.
So very simple, just assemble the main Lack sections, predrill for the Capital legs. I found the closer to the edge, the more solid wood was available. The Lack is hollow as you move inward. I used 6″ legs for the bottom and 4″ legs for the raised center shelf. For now the center channel shelf is just free standing, not attached permanently. I will probably go back and fix the legs with screws.
~ Bill


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to our Winners Profile, showcasing the Design Winner of our last Blog
very talented Design Winner of our February 2017 challenge is
Amanda Southern
Amanda won
the challenge with this amazing project. We thought the colours were just wonderful, and the stamping immaculate. Stunning work!
We asked Amanda
a few questions all about stamping (well, we are Craft Stamper after
Q: How long
have you been a stamper, and how did you get started?
A: I have been a stamper since I first started crafting in 2008, I got started with my then 5 year old niece wanting to make a card for her teacher and my mum had bought her a little set of rubber stamps and I had to have a go, the rest they say is history…..
A: I enjoy stamps that are a bit different and I especially love the stamps of Carabelle Studio, Stampotique and more recently Seth Apter
Describe your style, are you a messy kind of stamper or a more 'clean and
simple' kind of person?
A: I love nothing more than getting up to my elbows in paints and inks and any other mediums I can get my hands on. I can end up looking like a piece of modern art myself! I can sometimes want to create something clean and simple with lots of white space however, so it all depends on what mood I'm in or how much time I have.
kind of projects do you like creating the most?
A: I make all sorts of projects from cards to wall art to 3D art. I do enjoy 3D makes but struggle to find time and can find that I have a project on the go for weeks. I love colour, the bolder the better sometimes, and I also love to get all grungy with paint and textures.
Apart from stamps, what is the one product you wouldn't be without when you
A: Black Archival ink pad, it is my go to ink pad and stamps brilliantly onto so many different surfaces.
also asked Amanda to show us a couple of her
favourite stamped creations, and share why she likes them so much. Here
are the gorgeous projects she has chosen:
"I love the image of the Carabelle Studio girl she is so fabulous to colour. I love building up layers by masking and this background is a combination of 2 Carabelle stamps. I love working with bold colours, and this one uses so much colour" - Amanda
"Here is a wall hanging which uses a lot of paint and textures to create a much more grungier effect. I love how you can stamp words to add to your pieces to give it some meaning. I love word stamps!" - Amanda
on being our January Design Winner Lula , and
it was lovely to learn a little more about you!
YOU fancy having a winners profile all about you on the CS blog?
profile is part of the prize package for each Design Winner of our challenges.
All you need to do is enter a creation into the challenge, then if you are
voted Design Winner everyone will be reading all about you before you know it!
current challenge 'Take A Stamp -Anything Goes" is still open for a few more days! As March has 5 Fridays, you have a whole extra week to join in this month!
Don't forget the wonderful priz, the stamp set and stencil bundle from DaliArt!
Don't forget the wonderful priz, the stamp set and stencil bundle from DaliArt!
All the details can be found HERE.

subset: commoncrawl


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As previewed in a post from September, Waypoint Centre for Mental Health Care and Lakeshore Grounds Interpretive Centre have collaborated on a series of videos about the history of mental health care in Canada called Keys to Our Past. The films premiered earlier this month at the Humber Lakeshore Campus, site of the former Lakeshore Psychiatric Hospital.
Funded by the Social Sciences and Humanities Research Council (SSHRC) as a Canada 150 grant, the project is composed of six pieces that are each roughly ten minutes long on a range of topics relevant to the evolution of care throughout the history of our nation, from its early foundations to its recent iterations: institutional buildings, moral treatment, somatic therapy, drug therapy, the not criminally responsible designation, and language and stigma.
Here's the link to the Waypoint page for the videos for your viewing pleasure! The site also includes other resources and local media coverage. Here's a direct link to the Youtube playlist
AHP conducted an interview with one of the series producers, Laura C. Ball, who is Waypoint's Knowledge Translation & Implementation Coordinator. We discussed the making of the series, as well as its socio-political relevance to Canadian culture today. We'd like to thank Laura for taking the time to chat with us about the project! As historians of the field and as teachers, we appreciate the sensitivity and sophistication of its historiographic narratives, and we know our readership will as well.
Shayna Fox Lee (SFL): How did the idea for the project develop? Also, give us some insight into the significance of including works such as Keys To Our Past in the Canada 150 activities.
Laura Ball (LB): The idea for Keys to our Past initially came from a desire to extend the work that Jennifer Bazar had done during her post-doctoral fellowship position at Waypoint in Penetanguishene. She had created a wonderful resource – Remembering Oak Ridge Digital Archive & Exhibit – and we were hoping to secure funding through SSHRC's Canada 150 grants to expand on her vision. We were thrilled to receive the Canada 150 grant. It was a tangible recognition that mental health and the mental health care system is integral to the foundation and fabric of our country.
However, the real vision for the series came after we got the funding, and hired 2 students to work on the project: Rachel Gerow (MA student in Counselling Psychology, Yorkville University), and Gary Bold (BA student in Psychology, York University). The four of us got together and started to develop a plan. It was very student driven: we chose topics based on what they found interesting, and what they wanted to know more about.
SFL: Tell us about John Leclair! He did such a great job conveying the often very nuanced content in a manner that is straightforward but also sociable, resulting in an eminently accessible series!
LB: We literally could not have done this project in the way that we did without John's participation. To most people at Waypoint, he is known as a Recreation Therapist in the Provincial Forensic (max secure) programs – and one who whole-heartedly believes in his clients and has hope for their future. What many don't know is that he is also a talented stage and film actor.
He has been working with the Huronia Players in Midland, ON for some time now. Once we had established our vision for the series, it had become clear that we needed an actor to be the face and voice of the series – it couldn't be done by an amateur. Holly Archer – Waypoint's Senior Development Officer, and supporter of this project – is also a member of the Huronia Players. She arranged the meet for us, and right away we knew he was who we were looking for. He was not only a skilled actor, but also passionate about his patients, and an avid consumer of historical writings (he had read almost every page of the Remembering Oak Ridge site!). He immediately grasped the kind of persona we were looking for: someone who was likeable, funny, persuasive, and speaks with an air of authority – kind of a hybrid between Mr. Rogers, Bill Nye, and Rick Mercer!
John worked with us to develop the scripts to ensure that they were accessible, understandable, and sound like something he would actually say. He also enlisted the help of two other Huronia Players members: Ron Payne, who joined us on the film days to provide his Director expertise, and Wendy Roper, who provided John's makeup. Despite all our preparation, though, the scripts were still being polished right up until the moment they were performed on film. John is actually reading off of a teleprompter – and some of the final cuts were the first time he had seen some of the material in the scripts! That speaks volumes about John's skill and commitment to the project. Many working journalists can't even read off a teleprompter, and John made it look effortless.
SFL: The 'study' in which the films take place contains a wonderfully rich and diverse collection of artifacts that illustrate the institutional history, and also the history of mental health care and treatment more broadly. What fun the production of the set must have been! Any favourite pieces with share-worthy stories?
LB: The set was an absolute joy to create (though admittedly, it took a lot of work!). The final set featured contributions from the Waypoint History Walk collection, the Lakeshore Grounds Interpretive Centre collection, items on loan from the Mental Health Museum, as well as pieces donated from private collections from Jenn Bazar, Kate Harper, Monica Murphy, and myself (Laura Ball). All of the items on display have an interesting history.
However, I think my favourite has to be two items that appear separately on the set, but are presented as one display in the Waypoint History Walk: the section of the front gate from the former Oak Ridge building, and the Folger Adams key that was used to open it. For anyone who has visited or worked at Oak Ridge, those are usually cited as one of their strongest visual and auditory memories. The gate was profoundly heavy and large – even that small section is difficult to lift! And the key is similarly large and imposing. Together, they were a strong symbol of the security focus of the maximum security setting that was Oak Ridge. It was the gateway in and out of the facility. In recognition of that, the Folger Adams key is the symbol used for both the Remembering Oak Ridge site, and the Keys to our Past series.
SFL: All 6 films have great educational value, each with potential uses in a wide variety of traditional classroom and extracurricular teaching contexts–are there any plans for promotion of their usage in universities or elsewhere?
LB: Absolutely! Though we hope that the general public will enjoy these films, we recognize that the long-term value of the videos will likely be in educational settings. We are hoping to promote these videos as tools to use in the classroom for instructors of classes such as: History of Psychology, History of Psychiatry, Law and Psychology, and Abnormal Psychology. However, these videos touch on such diverse topics, that they will probably be more broadly applicable than we can foresee. For example, the Moral Treatment video discusses events relevant to the development of the disciplines of Occupational and Recreation Therapy.
SFL: Likewise, the piece on Language and Stigma holds considerable emancipatory potential for assisting Canada's public conversations about how social realities affect psychological experiences. How do you recommend institutions and organizations best employ that film as a resource?
LB: At Waypoint, we are in discussions about how best to use it. So far, we've discussed the possibilities of using it as part of new hire and student orientations, and presentations to the public. We are currently planning to show it as part of a Rotary Club presentation in Midland, ON and other outreach events. We think that this video is foundational – even though it is presented last in the YouTube playlist, it is, in fact, the piece that drives why we should understand all of the other topics. We're hoping that some of our other stakeholders and partners may see the value in these videos as well.
SFL: And finally, but not least, the piece on NCR advocates powerful messages about 2014's Bill C-14. I consider it to be an invaluable historiographic record for this political moment, providing a sophisticated synopsis of how legal language changes and cycles, and the consequences of those developments. Do you envision ways that it could be used to influence policy moving forward?
LB: This section of the video was actually a bit of a difficult one for us. As the videos were funded through the Canada 150 grant, we felt a bit awkward about presenting a video that is so blatantly critical of federal law. However, after discussions with some of our stakeholders, we realized that it was absolutely necessary. The evidence simply doesn't support Bill C-14, and every group who was part of the affected systems spoke out against the change. We hope that it can not only be a lesson for students about how policy is enacted (that sometimes it is developed based on emotional evidence rather than empirical evidence), but also to begin a conversation. With the current political push for "evidence-based" policy, we hope that the messages in this video will start a discussion about an area where evidence-based policy is needed.


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This versatile bass distortion is packed with smart features and great tone.
To paraphrase William Shakespeare's Sonnet 59, there ain't nothin' new under the sun. Though Bill was spouting this more that 400 years ago, the concept often holds true today when it comes to music products—especially new pedals or amps that always seem to include references to existing amps or pedals, while still touting themselves as "new." Engineer James Brown of Amptweaker boasts an impressive resume with his 25-plus years of bringing a number of amp designs to market, but he still admittedly contends that "tweaking" sounds is his specialty. And while Brown didn't invent distortion, he has definitely found a way to harness and sculpt it to new levels.
With his company Amptweaker, Brown has been making quality guitar and bass pedals with direct input from players on features and tone. This open-door approach has endeared his gear to the likes of Reeves Gabrels, Doug Pinnick, and Steve Stevens, as well as many lesser-known players that have just as much input into the construction as a superstar musician. One such user-tweaked bass pedal is the new Bass TightFuzz, an extremely versatile bass distortion that's packed with smart features and great tone.
That Warm, Fuzzy Feeling
An evolution of Amptweaker's original TightFuzz for guitar, the Bass TightFuzz is a stocky 2-pound beast that is most likely not going to move once planted onstage. Sporting a silver finish that contrasts its black knobs and settings-saver bar, this pedal looks like it would be at home on an Apollo mission. The Bass TightFuzz runs with either a 9V or 18V power supply, or any voltage between, with different performance specs depending on the adapter chosen. (Rumor has it the pedal works with as little as 6 volts as well.) When powering with a 9V supply, the signal is the most distorted, and with an 18V, the tone is cleaner and louder. Using a supply also powers the LEDs imbedded in the knobs.
For the 9V-battery purists out there, Amptweaker has one of the most ingenious battery compartments I have ever seen: It's a slide-out chamber that is held in place by magnets. With no screws to drop or plastic tabs to break, it enables what could arguably be the fastest 9V change in history. That said, 9V swaps shouldn't be happening too frequently with the pedal's on/off battery switch that saves battery life when not in use.
The Bass TightFuzz is packed to the gills with controls, but don't worry, the manual is one of the easiest I've read. And if five knobs and three switches sounds like a lot for a fuzz box, it's really not. You'll quickly realize why each control is important and how they add to the overall function of the Bass TightFuzz. If you have used bass distortion before, you will find the typical volume and fuzz knobs intuitive. And when digging into the tone and tight controls, you'll notice that the distortion spectrum opens up considerably. Rounding out the pedal's control panel, literally, is the dry low knob, which adds clean low end to your signal.
Tucked just below the knobs are the three switches that hold the keys to making this pedal special. First up is the '60s/'70s switch, and it toggles the fuzz between a bright tone to a fuller, beefier tone. To its right is the germanium/silicon switch which moves from a lower-gain germanium output stage to a high-gain silicon transistor. And finally, the edge/smooth switch can keep your fuzz relatively even and contained when set to smooth, or give it a more aggressive but not overbearing attitude when in the edge mode. These three extra features take the contour and flexibility of the Bass TightFuzz to another level, yet still keep the tone usable and warm.
If these controls weren't enough, the pedal also features 1/4" effects send and return jacks to create your own series loop, enabling you to add pedals to alter this fuzz box even further. And underneath the Bass TightFuzz is an effects loop pre/post switch to set according to your signal chain and preferences. With everything this box has packed onboard, it really wouldn't be that surprising if the Swiss Army ordered a few to de-engineer and figure out how Amptweaker got so much into one pedal.
Here Comes the Fuzz
Setting up the Bass TightFuzz between a Warwick CCL 210 and a vintage StingRay for an initial run through, I went to town. I was impressed with the options afforded me, and with so many tones available, it was hard to stick with just one. I found myself making small adjustments to each knob and finding a sweet spot that had me rocking, but would then move one of the switches over, and poof, yet another great tone.
Keeps the bottom end big with lots of usable tones.
A little heavy on the pedalboard. Price could be in the high side for those only looking for occasional fuzz.
Ease of Use:
Starting with all of the controls off, I slowly eased up the tone, dry low, and tight knobs, while leaving the fuzz control down. What I found was a great little preamp of sorts—fuzz free—with the dry low giving the StingRay huge bottom end. Switching from edge to smooth took the fuzz-free signal from crisp to more subdued, again creating another useful setting. And after setting up a nice, clean tone, easing the fuzz control up a little at a time took me from a slight dusting of dirt to a John Entwistle-esque solo tone in just a half a turn. Only when the fuzz is cranked does the square-waved chainsaw sound arrive, but even then, the tone still stays in check because of the pedal's tight circuit.
When A/B'ing the two modes of the '60s–'70s switch, it was like switching amp heads, with the '60s mode boasting more bite than its '70s counterpart. Yes, the bass tones from the 1960s and 1970s are in there, but I also was pleasantly surprised to find more modern, hard-hitting dirty tones as well.
It's the tight knob that really keeps the whole pedal together by taming the signal and slightly squashing it the more you add. Getting to an SVT-like driven sound is just a matter of rolling it all the way up. But if you do like a wide-open, harmonics-ringing fuzz tone, leave the tight knob off. I got to the Bass TightFuzz's edgiest sound—though still useful and musical—by taking it to the extreme through spiking the tone and fuzz, and turning off the tight control. However much I tried to make this pedal sound bad, I just couldn't.
The Verdict
It's rare you find a pedal with this many features and a $220 price tag. The Bass TightFuzz is well made, well thought out, and most importantly, it's a fuzz pedal that's truly tuned for bass. A common issue with many bass fuzz boxes is the lack of low end, but this pedal keeps your signal intact and gives a boost with its dry low control, which helps to keep your tone authoritative and massive. The tonal possibilities are so wide and effective that you'll want to try out all your basses through this box. You can emulate a lot of eras and familiar tones with the Bass TightFuzz, and its spectrum of tones truly inspires with even the slightest adjustments. So if you need a fuzz box that keeps the fuzz beefy and doesn't compromise your tone—while simultaneously packing a lot of character and range into a user-friendly presentation—the Bass TightFuzz is worth a long look.


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DETROIT (AP) — The lawyer for a Michigan Supreme Court justice accused of fraud says she'll file a claim to keep a Florida home out of the hands of the government.
Steve Fishman offered brief comments Wednesday, two days after prosecutors sued to take control of a house owned by Justice Diane Hathaway and husband Michael Kingsley.
The government says they temporarily transferred the home to a relative while trying to negotiate a short sale on a Michigan property. After the sale went through, and mortgage debt was erased, the Florida home went back to Hathaway and Kingsley. The government says ING Bank was cheated.
Fishman declined to respond to the fraud allegation but says Hathaway and Kingsley will fight to keep the property in Windermere, Fla. No criminal charges have been filed.


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Carpet Cleaning Testimonials
Carpet and Upholstery Cleaning
Toll Free 647-591-2056
Professional Carpet Cleaning testimonials
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- Best Time of the Year for Carpet Cleaning
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"My husband and I were so impressed with the work..." - 5 out of 5 stars
We wanted to take a minute to say thank you to everyone at Carpet Cleaning Service. My husband and I were so impressed with the work that was done in our home. Our carpeting looked dull and grey before they visited but now it looks new again. We can't thank you enough for everything!
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MADISON, Wis. — Can organic cropping systems be as productive as conventional systems?
The answer is an unqualified, "Yes" for alfalfa or wheat and a qualified "Yes, most of the time" for corn and soybeans, according to research reported by scientists at the University of Wisconsin-Madison and agricultural consulting firm Agstat in the March-April 2008, issue of Agronomy Journal.
The researchers primarily based their answer on results from the Wisconsin Integrated Cropping Systems Trials, conducted for 13 years (1990-2002) at Arlington, Wis., and eight years (1990-1997) at Elkhorn, Wis.
These trials compared six cropping systems (three cash grain and three forage-based crops) ranging from diverse, organic systems to less diverse, conventional systems.
The cash grain systems were conventional continuous corn; conventional corn-soybean; and organic corn-soybean-wheat where the wheat included a leguminous cover crop.
The three forage based systems were conventional corn-alfalfa-alfalfa-alfalfa; organic corn-oats-alfalfa-alfalfa; and rotationally grazed pasture.
In this research, they found that organic forage crops yielded as much or more dry matter as their conventional counterparts with quality sufficient to produce as much milk as the conventional systems; and organic grain crops — corn, soybean and winter wheat — produced 90 percent as well as their conventionally managed counterparts.
In spite of some climatic differences and a large difference in soil drainage between the two sites, the relatively small difference in the way the cropping systems performed suggested that these results are widely applicable across prairie-derived soils in the U.S. upper Midwest.
Other data
The researchers also compared their results to other data analysis done on this topic in the U.S. Midwest.
"There continue to be improvements in weed control for organic systems that may close the gap in productivity of corn and soybeans in wet seasons."
Joshua L. Posner
University of Wisconsin
Although researchers found that diverse, low-input/organic cropping systems were as productive as conventional systems most of the time, there is a need for further research, according to the study's author, Joshua L. Posner, University of Wisconsin.
"There continue to be improvements in weed control for organic systems that may close the gap in productivity of corn and soybeans in wet seasons," Posner said.
"On the other hand, technological advances may accelerate productivity gains in conventional systems that would outstrip the gains in organic systems even in favorable years."
The true question of whether organic cropping systems are as productive as conventional systems is a dynamic question and one that requires continual reevaluation.
Up-to-date agriculture news in your inbox!


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Just in time for Summer, the city's Parks and Playgrounds Map and our Waterplay Map have been updated to include the most current information about parks, playgrounds, and waterplay locations throughout Cambridge.
The Public Parks, Playgrounds and Reservations Map shows all of the major public open spaces in the city and contains information about the amenities at each location. You will also find information about the hours each park is open and who to contact if you have questions.
The Waterplay Map is your guide to the many Cambridge parks and playgrounds that feature water play sprinklers, which come in a variety of different types and sizes. Find one near you and beat the summer heat!
For More Information
For more information about these maps contact Brendan Monroe at 617/349-4641 or [email protected]. for copies of the maps contact Tracey Joyce at 617/349-4650 or [email protected].


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Talk:FOSDEM 2011
Useful info
Question: Is there a limit for the power we can draw at our booth? The coreboot/flashrom projects have a joint booth and we have lots of hardware for demos, and some of that hardware is a bit hungry... the number of outlets is not a problem for us, we have our own multi-socket extender.
Answer: In that case, please bring a sufficiently long extension cord so we can hook you up directly to the power distribution cabinets in the hallway. I'm not sure how much they can cope with, it's all ULB infrastructure, but I suppose it should be enough :)
Who brings what
- carldani
- 1x Schuko multi-outlet power strip with 10 sockets and CEE 7/7 hybrid Schuko/French plug
- long power cable (length TBD)
- ruik
- 1x LCD monitor
- 1x usb2serial + serial cable
- 1x PSU 400W
- 1x Asus M2V-MX SE + CPU + RAM
- 1x Asrock 939A785GMH/128M + CPU + RAM
- 1x IDE system HDD + CABLE
- 1x SATA hdd (no system so far)
- 1x POST card
- 1x CDROM IDE
- couple of SPI flash chips (1M winbonds some 512KB AMICs)
- 1x PS2 keyboard and mouse + usb2ps2
- Svens
- Thinkpad X60s running coreboot
- mbertens
- Nokia IP530 coreboot development machine
- Nokia IP330
- Some Compact PCI cards
We mostly stay in http://www.booking.com/hotel/be/hibrusselscc.html?aid=304142;label=postbooking_confemail
So far we know that following Coreboot fellows stays there:
- Ruik (plus 2 colleagues Pavel and Milan)
- CareBear
- Carldani
- MBertens


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Cinema 19
1224 19th Street,
No one has favorited this theater yet
Additional Info
Functions: Movies (Adult)
Previous Names: Virginia Theatre, Paris Theatre
Nearby Theaters
The Virginia Theatre opened in 1920. In recent years it has operated as an adult theatre, first named Paris Theatre from June 28, 1963 and from August 11, 1967 it was renamed Cinema 19 screening art house movies, but soon reverted back to adult movies.
Recent comments (view all 7 comments)
The Virginia Theatre opened in 1925 and was operated until the 1960's at which time the name changed and was operated as the "Paris Theatre" a porn house, after about ten years the name changed again to "Cinema 19", still a porn house, until it closed in 1985. Although no longer a theatre the building still stands and is a retail store.
Jack Nicholson walks past this theatre in the movie "5 Easy Pieces"
Google street view shows the word "Theatre" displayed at the top of this building, with the words "100 channels" in smaller lettering just below. The marquee has the words "Books" and "Videos" on it. There's a banner hanging at the top of the facade, too blurry to read in street view, but it looks porn-related. I think Cinema 19 is still in business at this location as some sort of video porn shop. It's still all over the Internet as Cinema 19 Theatre and Adult Bookstore, but I can't find any reviews describing it. There are also a number of Internet listings for a Wilton Cinema Inc., at the address 1224 19th Street.
Boxoffice of March 10, 1945, has a thumbnail biography of Mrs. John Carnakis in its "Twenty Year Showmen" feature. It says that the Carnakis family began operating the Star Theatre at Taft, California, in 1912, then in 1915 moved to Bakersfield where they opened the C&S Theatre, and four years later built the Virginia. That would give a likely opening date of 1919 or 1920, rather than 1925 for the Virginia. It's unfortunate that Kern County doesn't have its building records online so we could find the actual year of construction for this building.
The Carnakis's son, Manuel, was on the Bakersfield City Council in 1945. Issues of Boxoffice from the 1950s mention that he was later on the Kern County Board of Supervisors, and served at least one term as Mayor of Bakersfield. He is mentioned in Boxoffice as late as the issue of February 25, 1963, as operator of the Virginia Theatre.
Boxoffice of January 31, 1953, said that the Virginia had reopened at Christmas after extensive rebuilding occasioned by the earthquake which had struck Kern County in the fall of 1952. The theater had actually continued in operation for some time after the quake, but inspectors then found concealed damage that could have caused the roof to collapse, so the house was closed for repairs. After reopening, the item said, the Virginia was operating from noon daily, and was enjoying full houses as the only nearby competitor, the Fox circuit's Rex Theatre, was still closed.
I've been unable to find the Paris Theatre mentioned in Boxoffice, but the Cinema 19 is mentioned once. The December 9, 1974, issue says that the house was part of the 10-theater Amber Theatres chain of adult theaters, operated by 33-year-old Nancy Lindsey. Other houses in the chain included the Cine Cienega in Los Angeles, Fine Arts in San Bernardino, Ritz in Ontario, Roxy in Long Beach, Cave and Cinema in Hollywood, Yale in Santa Monica, and Corbin in the San Fernando Valley. The chain had recently taken over the Highland in Los Angeles as well.
The name switch to the Paris happened on June 28, 1963, showing "nudie" films (The Virginia had been periodically booking these films anyway). They reverted back to third-run product at 50cents on March 4, 1964. On August 12 it was back to the nudie cuties.
The Cinema 19 name debuted on August 11, 1967, when it became an "arthouse" cinema, booking such gems as Le Bonheur, Juliet of the Spirits, Umbreallas of Cherbourg, Loves of a Blonde, A Taste of Honey, and A Man and a Woman. But policy shortly reverted back to soft, then eventually, hard porn.
This theater is NOT CLOSED. I was there as recently as February, 2013. It shows porn and is pretty run down, but it is open.
John Carnakis built the Virginia Theatre in 1919 and opened the venue in 1920. At its tenth year, it was remodeled relaunching with Western Electric Sound in November 20, 1930 and the film, "The Squealer."
Just login to your account and subscribe to this theater.


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This photo includes two infrared images. The top one shows a man on a bed, while the lower image shows the warm imprint of his body after he has risen from the bed. Infrared photography gives a map of the heat distribution of an object from its radiation. These images are color coded from white for the hottest parts through to blue for the coldest.
Image (c) Dr. Ray Clark and Mervyn Goff, Science Source/Photo Researchers


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Before she had the biggest-selling debut album in the history of the U.K. charts, frumpy Susan Boyle was YouTube's darling.
In April, British television viewers watched the middle-aged Scottish woman astonish a live audience (and difficult-to-impress judge Simon Cowell) with a rendition of "I Dreamed a Dream" on Britain's Got Talent. Days later, YouTube users in the U.S. and elsewhere around the world wept for joy at the storybook success (however carefully crafted by the reality show's producers) of the simple woman with the bushy eyebrows and crystal-clear voice.
Sure, she lost the final competition to some dancing kids. And she succumbed more than once to the emotional pressure that comes with sudden fame. But with her record selling well, she said she doesn't want it to end.
Adding up the various posts on YouTube, the number of views of her first TV appearance hovers at about 100 million. With a statistic like that, she's the most viral of them all, and no list of the year's viral hits can exclude her.


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Once the applicants submit the application, a confirmation number will be provided. Both applicants will need to appear in person within 90 days to complete the process. Bring the valid ID entered in the application and the confirmation number to any of our three locations. Before arriving, both applicants must read the Marriage Handbook located on the Clerk's website.
Show All Answers
Yes, unless the parents are divorced and the custody and control are placed in one parent, then only the parent having such custody and control shall be required to give the written consent. All written consents must be acknowledged (notarized). If the parents have been granted shared parental responsibility, both parents must sign.
Yes. There is a three day waiting period if either of the parties to the marriage is residents of Florida. This waiting period will be waived if both parties provide proof of having received premarital counseling from a provider who has been approved by the Clerk of the Circuit Court for Polk County. View the premarital course provider directory for approved providers. Couples who provide proof of having completed premarital counseling may obtain a marriage license and be married the same day.
Check the premarital course providers directory.
No. The law requiring these tests was abolished on October 1, 1986.
No, a marriage license may be applied for and solemnized in any Florida county.
The marriage must be solemnized within 60 days of issuance of the Marriage License. The ceremony can be performed anywhere in the State of Florida.
He/she is a minister who has been recognized in the manner required by the regulations of the respective denomination to perform marriage ceremonies.
No, Section 741.08 F.S. states that the party solemnizing the marriage shall require a properly issued license before performing the ceremony.
A marriage cannot be officially recorded until the license is returned to the Clerk. It should be returned within 10 days after the wedding. The party who performed the marriage is responsible for returning the completed license.
Yes. Deputy Clerks are authorized and available during normal working hours to perform marriage ceremonies. The fee for this service is determined by Florida Statute and is available on the Fees page.
The fee for a marriage license is listed in the service fee schedule.
No, payment for marriage licenses must be made by cash or credit card.
This online service enables customers to begin the process of applying for their marriage license, saving them time when visiting the Clerk's office. Once the online application is submitted, the applicants will need to appear in person to complete the process. The information will be pending with the Clerk's office until such time. After 90 days, the applicants' information will expire from the system if no license is issued and the application process will need to start again. Visit our contact page to find the nearest location.
Any applicants who meet the requirements under Florida Law may use the online marriage application to begin the process. For non-US citizens, the Social Security Number field must be filled out with the proof of identification number. For example, if using a passport as proof of identification, enter the passport number into the Social Security Number field.
The collection of social security numbers is required per Florida Statute 741.04. The applicant's information is securely reported to the Bureau of Vital Statistics.
Call 863-534-4000 if you find an error on your marriage license. Also, if the license was issued prior to January 31, 2007, there will be a 24-hour timeframe before the couple can come in to the office to amend their license. There is a fee to amend a marriage license, which varies due to several factors. Contact our office for details about your particular case.


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The Book of the Cat: Cats in Art
Cats have been revered by artists since ancient times for their beauty, grace, independence, and air of mystery. Domesticated, but with a touch of the wild about them, they share our homes and endlessly fascinate us. The Book of the Cat is a cool and quirky collection of feline art and illustration by artists from around the world.
Interspersed through the illustrations are short texts about the artists and their subjects. Beautifully designed and packaged, the book will appeal to cat lovers of all ages.
Paperback, 160 pages. Cover measures 6 x 7.5 inches.


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late 6th/early 5th century BC Greek pre-Socratic philosopher
Parmenides (fl. early 5th century BC) was an ancient Greek monist philosopher born in Elea, a Greek city on the southern coast of Italy, and founder of the Eleatic school of philosophy. The single known work of Parmenides is a poem which has survived only in fragmentary form, in which he argues that Reality is One, change is impossible, and that existence is timeless and uniform.
Quotes edit
- You must learn all things, both the unshaken heart of persuasive truth, and the opinions of mortals in which there is no true warranty.
- Frag B 1.28-30, quoted by Sextus Empiricus, Against the Mathematicians, vii. 3; Simplicius, Commentary on the Heavens, 557-8; Proclus, Commentary on the Timaeus I, 345
- The only roads of enquiry there are to think of: one, that it is and that it is not possible for it not to be, this is the path of persuasion (for truth is its companion); the other, that it is not and that it must not be — this I say to you is a path wholly unknowable.
- Frag. B 2.2-6, quoted by Proclus, Commentary on the Timaeus I, 345
- For it is the same thing that can be thought and that can be.
- Frag. B 3, quoted by Plotinus, Enneads V, i.8
- It is indifferent to me where I am to begin, for there shall I return again.
- Frag. B 5, quoted by Proclus, Commentary on the Parmenides, 708
- Never will this prevail, that the things that are not are — bar your thought from this road of inquiry.
- Frag. B 7.1-2, quoted by Plato, Sophist, 237a
- Do not let habit, born from experience, force you along this road, directing aimless eye and echoing ear and tongue; but judge by reason the much contested proof which I have spoken.
- Frag. B 7.3-8.1, quoted by Sextus Empiricus, Against the Mathematicians, vii. 3
- There is one story left, one road: that it is. And on this road there are very many signs that, being, is uncreated and imperishable, whole, unique, unwavering, and complete.
- Frag. B 8.1-4, quoted by Simplicius, Commentary on the Physics, 144
Quotes about Parmenides edit
- Alphabetized by author
- The purest example of the Greek desire to comprehend, a desire which in him would have nothing to do with what was not strictly knowable. If later philosophers appear softer by comparison, it is perhaps because of a revivifying compromise they made, one more acceptable and more tolerant of the discourse we perhaps need; but, by the same token, one can perhaps be forgiven for sometimes thinking them dwarfed by the inhuman shadow of the master.
- Scott Austin, in Parmenides : Being, Bounds, and Logic (1986), p. 154
- The Greek tradition was a complete contrast to that of the Far East. ...the Greeks placed logic at the pinnacle of human thinking. Their sceptical attitude towards the wielding of 'non-being' as some sort of 'something' that could be subject to logical development was exemplified by Parmenides' influential arguments against the concept of empty space. ...He maintained that you can only speak about what is: what is not cannot be thought of, and what cannot be thought of cannot be. ...more unexpected was the further conclusion that time, motion nor change could exist either.
- John D. Barrow, The Book of Nothing (2009) chapter one "Zero—The Whole Story" p. 40
- The crisis at the heart of Parmenides' argument, "is or is not," rules out any candidate for an ultimate entity in an explanation of what there is that is subject to coming-to-be, passing-away, or alteration of any sort. Such an entity must be a whole, complete, unchanging unity: it must be a thing that is of a single kind … But it does not follow from this that there can be only one such entity. Parmenides' arguments allow for a plurality of fundamental, predicationally unified entities that can be used to explain the world reported by the senses.
- Patricia Curd, in The Legacy of Parmenides (1997), p. 241
- Parmenides believed that all Being is what he called the One, and denied absolutely the possibility of change. He believed that the cosmos is full (i.e., no void), uncreated, eternal, indestructible, unchangeable, immobile sphere of being, and all sensory evidence to the contrary is illusory. One Parmenidean fragment stated, "Either a thing is or it is not," meaning that creation and destruction is impossible.
- From this inheritance contemporary philosophers have continued to draw profit. Parmenides is their earliest ancestor whose work contains explicit and self-conscious argumentation. The severe conceptual difficulties posed for the first time in his verses are of perennial interest, and many of them remain in the forefront of discussion today. Recent study has thus brought his thought, in the words of another critic, "astonishingly close to some contemporary preoccupations." He should be viewed not only as "the most original and important philosopher before Socrates" but as the first extant author deserving to be called a philosopher in a present-day sense of the word.
- David Gallop, in Parmenides of Elea : Fragments (1991), p. 3
- One cannot say that the case for Parmenides is proved. If it is accepted, it is a strange freak of history that so fundamental a discovery should have been made by one for whom the whole physical world was an unreal show.
- W. K. C. Guthrie, in A History of Greek Philosophy (1981), Vol II. p. 65
- What is clear is that Parmenides is making a conscious attempt at some kind of a new start. Like Descartes, he is trying to find an unassailable starting-point on which something further can be built. This search is understandable, given the intellectual situation of the time. The principles of the Milesians had yielded no one clearly true system, but a number of rival ones — in itself a scandal. Heraclitus had made the whole of cosmology suspect by revealing deep-seated contradictions at its heart. In the background, the Pythagoreans were directly or indirectly stimulating new lines of thought and using them, perhaps, for their own mysterious purposes.
- Edward Hussey, in The Presocratics, Classical Life and Letters (1982), p. 105
- I walked on to the next corner, sat on a bench at a bus stop, and read in my new book about Heraclitus. All things flow like a river, he said; nothing abides. Parmenides, on the other hand, believed that nothing ever changed, it only seemed so. Both views appealed to me.
- Ross MacDonald, The Chill (1963), Vintage Crime/Black Lizard edition, pp. 209-210
- As Parmenides categorically threw out all observation with the senses, so this student of philosophy is inclined to throw out Parmenides as a complete waste of time! His static theories denying motion and change were in direct antithesis to the Kinetic metaphysics of Heracleitus, and his depressing monism was later refuted by the atomists Democritus and Leucippus. In a nutshell; in a word; Parmenides is Pah! — and definitely not a philosopher to take to bed with you on a long winter evening! … Personally speaking the whole thing makes me shudder — although I do acknowledge that paradoxes and riddles are very popular with the average thirteen-year-old school boy.
Zeno however, impressed his dialectical ability on Socrates, who then began turning it loose on the average citizen in the Agora (market-place) and in consequence made himself most unpopular. I only think that it is a pity that when they asked Socrates to drink the hemlock in 399 B.C., they didn' t include Zeno and Parmenides in the invitation.- Maureen O' Sullivan, in The Four Seasons of Greek Philosophy (1982), p. 56
- Parmenides made it clear for the first time that the Immortal Principle, the One, Truth, God, is separate from appearance and from opinion, and the importance of this separation and its effect upon subsequent history cannot be overstated. It's here that the classic mind, for the first time, took leave of its romantic origins and said, "The Good and the True are not necessarily the same," and goes its separate way. Anaxagoras and Parmenides had a listener named Socrates who carried their ideas into full fruition.
- Robert M. Pirsig, in Zen and the Art of Motorcycle Maintenance (1974), Ch. 29
- It was, for all I know, the first deductive theory of the world, the first deductive cosmology: One further step led to theoretical physics, and to the atomic theory.
- Karl Popper, in The World of Parmenides : Essays on the Presocratic Enlightenment (1998)
- If I accede to Parmenides there is nothing left but the One; if I accede to Zeno, not even the One is left.
- Seneca the Younger, as quoted in "Zeno", in The Presocratics (1966) edited by Philip Wheelwright, p. 106
- One of Parmenides' merits is to have been the first philosopher who strove to handle general concepts like "being", "not-being", "knowing", "unity", "identity", in their systematic connection.
- Willem Jacob Verdenius, in Parmenides (1964), p. 2
- The philosophy of Parmenides is a strange blend of mysticism and logic. It is mysticism, for its goal is not the gradual and cumulative correction of empirical knowledge, but deliverance from it through the instantaneous and absolute grasp of "immovable" truth. This is not the way of techne, but the way of revelation: it lies "beyond the path of men" (B. 1.27). Yet this revelation is itself addressed to man's reason and must be judged by reason. Its core is pure logic: a rigorous venture in deductive thinking, the first of its kind in European thought. This kind of thinking could be used against the world of the senses … This projection of the logic of Being upon the alien world of Becoming was Parmenides' most important single contribution to the history of thought, though it is seldom recognized as such. Without it, his doctrine of Being could have remained a speculative curiosity. With it, he laid the foundations for the greatest achievement of the scientific imagination of Greece, the atomic hypothesis.
- Gregory Vlastos, in Studies in Greek Philosophy (1993), Vol. I, p. 16
- Followers of Parmenides worked themselves into logical knots and mystic raptures over the rather blatant contradiction between point five and everyday experience.
- Frank Wilczek, "Einstein's Parable of Quantum Insanity" (September 10, 2015)
- The truth is, that these writings of mine were meant to protect the arguments of Parmenides against those who make fun of him and seek to show the many ridiculous and contradictory results which they suppose to follow from the affirmation of the one. My answer is addressed to the partisans of the many, whose attack I return with interest by retorting upon them that their hypothesis of the being of many, if carried out, appears to be still more ridiculous than the hypothesis of the being of one.
- Zeno of Elea, as quoted in Parmenides by Plato, a portrayal of a discussion which begins between Socrates and Zeno, and then primarily Parmenides; as translated by Benjamin Jowett - Parmenides (1871) Full text online
See also edit
External links edit
- Parallel text of three translations (two English, one German)
- Parmenides Bilingual Anthology (in Greek and English, side by side)
- Fragments of Parmenides parallel Greek with links to Perseus, French, and English
- Parmenides entry by John Palmer in the Stanford Encyclopedia of Philosophy
- "Lecture Notes: Parmenides", S. Marc Cohen, University of Washington
- Parmenides' of Elea Way of Truth with an annotated bibliography and a list of critical editions


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INDIANAPOLIS, May 21 – Collegiate FFA, a program of the National FFA Organization, is now accepting applications for its National Collegiate Agricultural Ambassador program. Twenty selected students will serve during the 2012-2013 school year.
During their term, ambassadors will deliver presentations to elementary, junior-high and high school classes, community organizations and other groups interested in learning about the industry of agriculture. The presentations will focus on food safety and security, sound science, sustainable agriculture as well as other current agricultural topics. Ambassadors will earn scholarship money during their year of service.
College students ranging from sophomores to graduate students who have the desire to promote agriculture may apply to be an ambassador. The application deadline is June 1, 2012. Visit www.FFA.org/collegiate for more information.
The National Collegiate Agricultural Ambassadors program is sponsored by BASF, Syngenta, CSX Transportation and the National Pork Board as a special project of the National FFA Foundation.
The National FFA Organization provides agricultural education to 540,379 student members in grades seven through 12 who belong to one of 7,489 local FFA chapters throughout the U.S., Puerto Rico and the Virgin Islands.
For more news, go to: http://www.agri-pulse.com/


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Scrumptious Seafood: Eggs Stuffed with Smoked Salmon and Cucumbers
Mother's Day: got plans? As a holiday that typically revolves around brunch, it's a busy one for restaurants. If mom prefers a more relaxed version at home (or you left it too late to make a reservation – oops), spoil her in style in the comfort of her own home. Start with these scrummy, salmony eggs from Good Housekeeping and don't forget her beverage of choice!
- 10 large eggs
- 2 oz. smoked salmon
- 3 tbsp. light mayonnaise
- 0.25 c. cucumber
- 2 tsp. Fresh dill
- pepper
- In 4-quart saucepan, place eggs and enough cold water to cover by at least 1 inch; heat to boiling on high. Immediately remove saucepan from heat and cover tightly; let stand 15 minutes. Pour off hot water, and run cold water over eggs to cool. Peel eggs.
- Slice eggs lengthwise in half. Gently remove yolks and place in medium bowl; with fork, break yolks into chunks. Reserve 1 tablespoon chopped salmon. To egg yolks, add mayonnaise, cucumber, 2 teaspoons chopped dill, 1/2 teaspoon freshly ground black pepper, and remaining salmon; gently stir until combined. (Egg-yolk mixture and egg whites can be covered separately and refrigerated up to 24 hours.)
- Place egg whites on serving dish or in jelly-roll pan lined with paper towels (to prevent eggs from rolling). Spoon about 1 tablespoon egg-yolk mixture into each egg-white half. Top eggs with reserved chopped salmon. Cover eggs and refrigerate up to 4 hours. Just before serving, garnish with dill sprigs.


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Round The Clock Surveillance: Is This The Price
of Living In A 'Free, Safe' Society?
- PostEagle
- June 30, 2013
- Uncategorized
- 0 Comments
"If you're not a terrorist, if you're not a threat, prove it. This is the price you pay to live in free society right now. It's just the way it is."
—Sergeant Ed Mullins of the New York Police Department
Immediately following the devastating 9/11 attacks, which destroyed the illusion of invulnerability which had defined American society since the end of the Cold War, many Americans willingly ceded their rights and liberties to government officials who promised them that the feeling of absolute safety could be restored.
In the 12 years since, we have been subjected to a series of deceptions, subterfuges and scare tactics by the government, all largely aimed at amassing more power for the federal agencies and extending their control over the populace. Starting with the wars in Afghanistan and Iraq, continuing with the torture of detainees at Abu Ghraib and Guantanamo Bay, and coming to a head with the assassination of American citizens abroad, the importing of drones and other weapons of compliance, and the rise in domestic surveillance, we have witnessed the onslaught of a full-blown crisis in government.
Still Americans have gone along with these assaults on their freedoms unquestioningly.
Even with our freedoms in shambles, our country in debt, our so-called "justice" system weighted in favor of corporations and the police state, our government officials dancing to the tune of corporate oligarchs, and a growing intolerance on the part of the government for anyone who challenges the status quo, Americans have yet to say "enough is enough."
Now, in the wake of the Boston Marathon bombing, we are once again being assured that if we only give up a few more liberties and what little remains of our privacy, we will achieve that elusive sense of security we've yet to attain. This is the same song and dance that comes after every tragedy, and it's that same song and dance which has left us buying into the illusion that we are a free, safe society.
The reality of life in America tells a different tale, however. For example, in a May 2013 interview with CNN, former FBI counterterrorism agent Tim Clemente disclosed that the federal government is keeping track of all digital communications that occur within the United States, whether or not those communicating are American citizens, and whether or not they have a warrant to do so.
As revelatory as the disclosure was, it caused barely a ripple of dismay among Americans, easily distracted by the torrent of what passes for entertainment news today. Yet it confirms what has become increasingly apparent in the years after 9/11: the federal government is literally tracking any and all communications occurring within the United States, without concern for the legal limitations of such activity, and without informing the American people that they are doing so.
Clemente dropped his bombshell during a CNN interview about authorities' attempts to determine the nature of communications between deceased Boston bombing suspect Tamerlan Tsarnaev and his widow Katherine Russell. In the course of that conversation, Clemente revealed that federal officials will not only be able to access any voicemails that may have been left by either party, but that the entirety of the phone conversations they had will be at federal agents' finger tips.
"We certainly have ways in national security investigations to find out exactly what was said in that conversation," stated Clemente. "All of that stuff [meaning phone conversations occurring in America] is being captured as we speak whether we know it or like it or not." A few days later, Clemente was asked to clarify his comments, at which point he said, "There is a way to look at all digital communications in the past. No digital communication is secure."
In other words, there is no form of digital communication that the government cannot and does not monitor—phone calls, emails, text messages, tweets, Facebook posts, internet video chats, etc., are all accessible, trackable and downloadable by federal agents.
At one time, such actions by the government would not only have been viewed as unacceptable, they would also have been considered illegal. However, government officials have been engaged in an ongoing attempt to legitimize these actions by passing laws that make the lives of all Americans an open book for government agents. For example, while the nation was caught up in the drama of the Boston bombing and the ensuing military-style occupation of the city by local and federal police, Congress passed a little-noticed piece of legislation known as the Cyber Intelligence Sharing and Protection Act (CISPA). The legislation, which the House of Representatives approved by an overwhelming margin of 288-127, will allow internet companies to share their users' private data with the federal government and other private companies in order to combat so-called "cyber threats."
In short, the law dismantles any notion of privacy on the internet, opening every action one undertakes online, whether emailing, shopping, banking, or just browsing, to scrutiny by government agents. While CISPA has yet to clear the U.S. Senate Committee on Commerce, Science, and Transportation, the spirit of it is alive and well. In fact, officials in the Obama administration have for some time now been authorizing corporate information sharing and spying in secret through the use of executive orders and other tactics.
The Justice Department, for instance, has been issuing so-called "2511 letters" to various internet service providers like AT&T, which immunize them from being prosecuted under federal wiretapping laws for providing the federal government with private information. Despite federal court rulings to the contrary, the Department of Justice continues to assert that it does not require a warrant to access Americans' emails, Facebook chats, and other forms of digital communication.
While it may be tempting to lay the full blame for these erosions of our privacy on the Obama administration, they are simply continuing a system of mass surveillance, the seeds of which were planted in the weeks after 9/11, when the National Security Agency (NSA) began illegally tracking the communications of American citizens. According to a Washington Post article published in 2010, the NSA continues to collect 1.7 billion communications, whether telephone, email or otherwise, every single day.
The NSA and Department of Justice are just two pieces of a vast surveillance network which encompasses and implicates most of the federal government, as well as the majority of technology and telecommunications companies in the United States. For the past two years, the United States Foreign Intelligence Surveillance Court has approved literally every single request by the federal government to spy on people within the United States. There have been some 4,000 applications rubberstamped by the court in the past two years, applications which allow federal officials to monitor the communications of any person in the United States, including American citizens, if they are believed to be in contact with someone overseas.
These government-initiated spying programs depend in large part on the willingness of corporations to hand over personal information about their customers to government officials. Sometimes the government purchases the information outright. At other times, the government issues National Security Letters, which allow the government to force companies to hand over personal information without a warrant or probable cause.
Some web companies, such as Skype, have already altered their products to allow government access to personal information. In fact, government agents can now determine the credit card information and addresses of Skype users under suspicion of criminal activity. Aside from allowing government agents backdoor access to American communications, corporations are also working on technologies to allow government agents even easier access to Americans' communications.
For example, Google has filed a patent for a "Policy Violation Checker," software which would monitor an individual's communications as they type them out, whether in an email, an Excel spreadsheet or some other digital document, then alert the individual, and potentially their employer or a government agent, if they type any "problematic phrases" which "present policy violations, have legal implications, or are otherwise troublesome to a company, business, or individual." The software would work by comparing the text being typed to a pre-defined database of "problematic phrases," which would presumably be defined on a company-by-company basis.
The emergence of this technology fits in well with Google chairman Eric Schmidt's view on privacy, which is that "If you have something that you don't want anyone to know, maybe you shouldn't be doing it in the first place." Unfortunately, this is not just the attitude of corporate benefactors who stand to profit from creating spy technology and software but government officials as well.
Additionally, police officials throughout the country have become increasingly keen on monitoring social media websites in real time. Rob D'Ovido, a criminal justice professor at Drexel University, has noted that, "The danger of this in light of the tragedy in Boston is that law enforcement is being so risk-averse they are in danger of crossing that line and going after what courts would ultimately deem as free speech."
For example, Cameron Dambrosio, a teenager and self-styled rap artist living in Metheun, Massachusetts, posted a video of one of his original songs on the internet which included references to the White House and the Boston bombing. While the song's lyrics may well have been crude and ill-advised in the wake of the Boston bombing, police officers exacerbated the situation by arresting Dambrosio and charging him with communicating terrorist threats, a felony charge which could land him in prison for twenty years.
Unfortunately, cases like Dambrosio's may soon become the norm, as the FBI's Next Generation Cyber Initiative has announced that its "top legislative priority" this year is to get social media giants like Facebook and Google to comply with requests for access to real-time updates of social media websites. The proposed method of encouraging compliance is legal inquiries and hefty fines leveled at these companies. The Obama administration is expected to support the proposal.
The reality is this: we no longer live in a free society. Having traded our freedoms for a phantom promise of security, we now find ourselves imprisoned in a virtual cage of cameras, wiretaps and watchful government eyes. All the while, the world around us is no safer than when we started on this journey more than a decade ago. Indeed, it well may be that we are living in a far more dangerous world, not so much because the terrorist threat is any greater but because the government itself has become the greater threat to our freedoms.
By John W. Whitehead
– Constitutional attorney and author John W. Whitehead is founder and president of The Rutherford Institute. He can be contacted at firstname.lastname@example.com. Information about The Rutherford Institute is available at www.rutherford.org


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Comedian Drew Carey is offering to help police find those involved in dumping a bucket of urine and feces on a special-needs teen in Ohio who was reportedly told the prank was part of the "Ice Bucket Challenge."
The Cleveland native posted on his Twitter account Saturday that he's willing to donate $10,000 if police in suburban Bay Village want to start a reward fund.
The 14-year-old boy's mother found a cellphone video of teenagers dumping the bucket on her autistic son.
Bay Village High School organized a vigil for the teen before a football game on Friday and school officials have condemned the prank.
Carey is the host of the popular game show "The Price is Right" and starred in the comedy "The Drew Carey Show."


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MEADOWLANDS — Discussions continue to heat up over the possibility of bringing gambling to the Meadowlands.
Assemblyman Ralph Caputo (D-Essex) has been pushing for New Jersey to look into expanding casino gambling beyond Atlantic City into other localities. At a regional gambling conference in Atlantic City on May 20, he said that the state could recapture lost money by bringing casino gambling to the Meadowlands.
Politicians from the Atlantic City area strongly object to the idea. They cite a package of incentives put in place three years ago by Gov. Chris Christie to assist a struggling Atlantic City. As part of that package, the governor gave Atlantic City five years to show improvement before he would consider asking voters to approve casinos elsewhere in the state.
The package included creating a tourism district in Atlantic City and providing casinos with relief from certain costly regulations.
Sen. Jeff Van Drew from Cape May County, just south of Atlantic City, said that gambling in the Meadowlands would "cannibalize the industry" and further damage Atlantic City. — Art Schwartz


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Tutorial - Stamp your Milliput
by Roman aka jar
another article hits the jungle. Really, another one?
MV's year of the painter brings you excellent hobby tips, tricks and inspiration.
This article will not be different.
Btw I hope you are enjoying how MV heads straight back to its roots: Bringing you articles from our everyday workbench (for free) to help everyone having more happy painting time at their workbench? Let us know if you like it or if you got questions, write more comments if you enjoy the articles or hit the donation button once in a while. That is the only feedback that we get :)
Well, this article is about basing again. I will show you a funny and enjoyable way on how you can create different textures on Milliput, Standard Yellow. You can also use different clay here, for basing I prefer using Milliput, which is just my personal taste.
This technique is really simple and can lead to great results. Just mix your two component Milliput Standard Yellow 50/50 and take your time for that. It should really be mixed well or it will not dry hard as a rock.
When it is mixed you have around two hours of working with it from now on. The first hour the Milliput will be more soft, in the second hour it will get hard slowly (Good to know!). After those two hours it is really hardening quick, but still you can do something with it. Soon more about the different stages.
I place the mixed Milliput to a wooden plinth (you can also do that to a gaming base). You can see on the example below how my fingers already made a funny texture to it while pressing it in shape. I could already leave it like that, but that is too simple I say.
Now all is about your collection of material to makes stamps of. Your collection can grow if you keep your eyes open to the world that sorrounds you. Stones, wood pieces, your kid's toys, some garbage you found useful and so on. You can really use everything that has an interesting surface. I will now show you some examples:
If you don't like the texture it produces just wet your fingers with water and make it plain again to make the surface ready for another stamp test.
Next one was done during a painting class. It was done by the help of a stone who got holes in it, like this one here! The stone was stamped into the Milliput to achieve the look of bubbles in lava or slimy water.
Next one is a piece of plaster from Hirst-Art and we will spent some more time with that one. It is already a little damaged but I don't care about that, just makes my stamp more interesting I hope. Free your mind for such tests to find what you like and don't like. Open up and do experiments.
I used mainly the side of the plaster piece as I like the structure there the most. Now I press from the side into the Milluput to stamp it there and bring the whole base in the shape that I like.
I use its flat bottow to bring bigger surfaces to a plain area. All done with that one piece of plaster, but I hope you know that you can do this with tons of other "stamps" that you collect. It does not have to be the same plaster piece I am using here. Keep your eyes open, find your own ideas, follow your inspiration and stamp like you never did before to gain your own experience.
So stamping is over now but my plinth still looks a little messy? After one hour the Milliput gets harder I told you. Now is the time to prepare it a little more to be a base in the end. I took my scalpell to cut away the side of the Milliput and make it a plain ending to the plinth:
After two hours the Milliput really gets hard. Now is the time to cut some detail stones with the scalpell and bring in more detail to the base overall. Chop! Chop!
Even the Milliput is not completly dry yet in this stage I can already prepare some additional materials. I used some small plaster pieces for debris and a skeleton torso and placed a Hasslefree Dwarf Warrior on top of that quick base.
When the whole Milliput is completly hard (next day) I work my time at the the still unclean edges of the plinth with using sandpaper to make them smooth. Easy procedure and that's it. Ready for priming.
This article is mainly to inspire you. Give it a try, search for stuff that you can use as a stamp and have fun by exploring your endless options. Make sure to keep your eyes open, really do as I can already give you a little hint: This article is connected to the next MV-Quest that lies ahead of you all ...
Read you soon and keep on happy painting!
Best Wishes


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